LIBRARY 


M. Knoedler & Co. 


14 East 57th St. 
New York 


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ainly © a ot shat, aheere! that distin 
ar st in a. most. favorable. light. It 
po ng and majestic, with ‘its ‘grea 


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Rie ton 


“On the Oise,”’ No. 40, is a vigorously painted 


scene ‘on ‘the -Tiver, with tints of white and 


blue in the sky and green and gray in the 
landscape. The Israels, ‘“‘Dutch Interior,’’ No. 


| 52, is a fine example of that artist’s work, 


which was, evidently, painted before success 


drove him to working too fast, and he fell 
into the ropy handling and muddy color that 


_is seen in his recent work, for this picture is 
_exeellent in color and frankly painted. It 
‘abounds in agreeable harmonies of gray, yel- 
low, green, and dark blue, and shows quality 
and strength.. The Pasini, ‘‘Market Scene, 


Constantinople,”’ No. 49, possesses all the bril- 
liant qualities that mark that well-known 


_artist’s pictures of Oriental scenes, and is full 


_ing, and shows two “women in a garden— 


of people in many-colored costumes. The Diaz, 
“Twilight in the Forest of Fontainebleau,”’ 
No. 44, a small work called ‘‘The Offenbach 


Diaz,’’ because it belonged to the composer, is, 


a fine bit of gloomy color, with relieving notes 


of yellow and white, dramatic in composition, | 
and forceful in treatment. The Madrazo, ‘‘The — 


Spanish Dance,’’ No. 21, is like the ‘‘Woman 
and Parrot’’ in the William H. Stewart col- 
lection, an PSR OnENY clever piece of paint- 


one dancing, the other playing ona guitar, 
The Mauve, ‘“‘Shorn Sheep,’’ No. 27, is a sober- 


/ly colored Dutch scene, with sheep entering 


a barn while a peasant girl holds open the 
door, that possesses fine qualities, and is a 
very interesting example of the work of an 
artist who is a great favorite with American 


| amateurs, The Boldini is a bright landscape 


with figures, “On the Seine at Bougival,’’ No. 
23, one of the brilliant little canvases that 


| everybody knows as inimitable. The Bonnat 
'is a charming head of an olive-skinned little 


Italian peasant girl (No. 28), and the De Neu- 
ville, “The Bivouac,’’ No. 29, is a vigorously 


drawn figure of a zouave on picket-duty in a 


snowy landscape, with officers in consultation 
and men about the camp-fire in the back- 
ground. Then, by such excellent artists ag 
Berne-Bellecour, :Julien, Dupre,, Jacquet, Mau- 
rice Leloir, Rico, Kart Daubigny, Raffaelli, 
Adrien Demont, and Georges Laugee, there are 
characteristic examples interesting in subject 
and in technical methods. By the Americans 
George Inness and J. Francis Murphy there 
are landscapes, the former’s (No. 26) small but 
rich in color; the latter’s, a larger canvas 
than he usually paints, and fine in tone, called 
“The Path to the Village,’ No. 25. Charles 


|} Louis Muller, who painted ‘‘The Roll-Call of 
| the Last Victims of the Reign of Terror,’’ the 


great canvas that used to hang in the Luxem- 


ah Sta eee ee Te 4d aoe E ad ol a: — ae. SS or Se, 


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f peasant subjects; ‘Ferd 


works is "tot very well kn wh 
judged by the pictures in this ‘pOTeCtTOn 
New Coat,’’ No. 50; ‘“‘The Rendezvous,’ No. 
46; “At the Antiquary’s,’’ No. 88, and “Jean 
| Jacques Rousseau aux Charmettes,”’ No. 8 
belongs in the category of the best sone | 
genre painters, is seen to be an agreeable 


colorist and a draughtsman. of. remarkable 
ability. ‘‘The Rendezvous,”’ with its « cavalier i 
on his black horse, waiting at a garden-gate, ; 
“4s excellent in color and as precise, while ag, 
- broad, as a Meissonier. The picture of Rouse 
'seau at the window of his room in the house | 
at Charmettes is equally delicate and exact 
-in observation, and isa most complete little | 
work. Tho fact that the figure is said. to be. 
a very faithful portrait gives it additional in- | 
terest. © Finally, there are eight landscapes | 
| by Jan Monchablon, the remarkable paysagiste | 
who paints detail in the closest fashion, gives 
L bite exact form of every bush, tree, flower, 
| house, spire, and cloud in sight, and yet in-= 
vests his pictures with a complete and’ satisfy~ 
ing atmospheric effect. His work is truly 
| wonderful, and. no painter has yet guessed 
by what technical means he gradates so skil- 
' fully and with such absolute justness of tone 
the values of his luminous skies. These pic- 
eae are all remarkable examples, and - “pr e- 
sent the beautiful landscapes of the Vosges al 
the Cote d’Or with fidelity and artistic breadth of 
vision. The largest canvas is “‘Les Patu-— 
reaux,’’ No. 57, the artist’s Salon picture in 
1888, and ‘‘The Valley of the Saone,’’ No. 24, 
“Un Chemin dans les Moissons,’’ No. 19, : cand 
“Paturage au Soleil,’? No. 51, are three others 
| that may be noted for their convincing merit, 
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MODERN PAINTINGS ~ 


THE 


PRIVATE COLLECTION OF 


ABRAHAM DISBECKER 


TO BE SOLD AT ABSOLUTE PUBLIC SALE 


On FRIDAY EVENING, APRIL IST 


BEGINNING AT 8.30 O’CLOCK 


AT THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH 


WHERE THE PAINTINGS WILL BE ON VIEW, DAY AND EVENING, ~ 
FROM MARCH 25TH UNTIL DAY OF SALE (SUNDAY EXCEPTED) 


THOMAS E. KIRBY WILL CONDUCT THE SALE 


AMERICAN ART ASSOCIATION CO 


MANAGERS 


NEW YORK 
1808 ats } 


CONDITIONS OF SALE. 


1, The highest Bidder to be the Buyer, and if any dispute 
arise between two or more Bidders, the Lot so in dispute shall 
be immediately put up again and re-sold. 


2. The Purchasers to give their names and addresses, and 
to pay down a cash deposit, or the whole of the Purchase- 
money zf veguired, in default of which the Lot or Lots so 
purchased to be immediately put up again and re-sold. 


3. The lots to be taken away at the Buyer’s Expense and 
Risk won the conclusion of the Sale, and the remainder of 
the Purchase-money to be absolutely paid or otherwise settled 
for to the satisfaction of the Auctioneer, on or before delivery ; 
in default of which the undersigned will not hold themselves 
responsible if the Lots be lost, stolen, damaged, or destroyed, 
but they will be left at the sole risk of the Purchaser. 


4. The sale of any article is not to be set aside on account 
of any error in the description, or imperfection. Ail 
articles are exposed for Public Exhibttion one or more 
days, and are sold gust as they are without recourse. 


5. To prevent inaccuracy in delivery and inconvenience in 
the settlement of the purchases, no lot can, on any account, 
be removed during the Sale. 


6. Upon failure to comply with the above conditions, the 
money deposited in part payment shall be forfeited ; all Lots 
uncleared within two days from conclusion of Sale shall be 
re-sold by public or private Sale, without further notice, and 
the deficiency (if any) attending such re-sale shall be made 
good by the defaulter at this Sale, together with all charges 
attendingthesame. This Condition is without prejudice to the 
right of the Auctioneer or Managers to enforce the contract 
made at this Sale, without such re-sale, if they think fit. 


AMERICAN ART ASSOCIATION, 


MANAGERs, 
Tuomas E, Kirsy, 


Auctioneer. 


CATALOGUE 


Sauer PRIDAY, APRIL 1st 


AT THE AMERICAN ART GALLERIES 


BEGINNING AT 8:30 O'CLOCK, P.M. 


SCHEFFER (A.). 
No. 1. The Consultation. 


A small canvas showing two men seated, talking 
together. The costumes are of the period of 
Francois Premier and the color is rich and full. 


Height, 8 inches. Width, 6} inches, 
Signed at the left. 
5 


MUNOZ (DOMINGO). 


Born in Spain. Contemporary. <A celebrated 
genre painter, whose work is marked by fine color 
qualities and refined and accurate drawing. 


No. 2. The Spanish Admiral. 


Small panel, showing the head and bust of an 
elderly man, with a keen face, the expression 
denoting a somewhat peppery character, and the 
head capped with a high cocked hat, trimmed 
with fur and a scarlet cockade. A high scarlet 
collar, scarlet facings on the blue coat, and a 
broad white sword-belt, with two narrow crimson 
stripes at the edges, complete the costume. A 
delicately painted characterization in the clever 
manner of the Spanish-Roman style. 


Height, 11 inches. Length, 14 inches. 
Signed at the right. 


MIRALLES (E.). 


Contemporary painter of the French School, 
whose pictures are generally of figures out of doors. 
His works are noted for their good drawing and 
attractive color. 


No. 3. In the Fields. 


A man in hunting costume of the time of Louis 
XIII, holds in leash a dog, whose action shows 
that he sees game and wishes to spring forward. 
The man, a stalwart well-drawn figure, holds him 
back, and the environment presents a pleasant 
landscape on a summer day. A very cleverly 
executed little picture, full of life and movement. 


Height, 94 inches. Width, 7} inches. 
Signed at the —— 


PUT rears eR 


LAUGEE (GEORGES). 


Born at Montivilliers (Seine-Inferieure), France. 
Contemporary. Pupil of his father, D. F. Laugée, 
and of Pils and Lehmann. Medalat the Paris Uni- 
versal Exposition, 1889; a regular exhibitor at the 
Salon, and a well known painter of peasant life. 


No. 4. Breakfast in the Meadow. 


With her back against the trunk of a big tree, 
that grows in a meadow where there are haycocks 
in the middle distance and cool shadow in the 
foreground, a peasant girl is seated eating “‘la 
soupe.” It is her mid-day lunch taken long after 
the first breakfast at the beginning of the day’s 
work, and the rest and food are grateful. By her 
side is a great loaf of home-made bread, and a bot- 
tle of cider. In her pink bodice, dark skirt, and 
blue apron, this comely worker in the fields pre- 
sents an attractive picture. The landscape is com- 
petently treated and agreeable in its color scheme. 
The interpretation of the episode is picturesque 
and veracious. 


Height, 18 inches. Length, 22 inches, 
Signed at the right. Dated 1887. 


WAGNER (FERDINAND). 


Born at Passau, January 25, 1847. Pupil of 
Munich Academy and of Quaglio. Visited Rome, 
and in 1876, Venice. A noted artist of the German 
School, and famous for his coloring, 


No. 5. Flowers. 


A striking composition of masses of light and 
dark, with rich effective color, A large bunch of 
pink, red, yellow, and white roses naturally ar- 
ranged, with a profusion of glowing tints, and a 
tall vase on the left containing three pale roses of 
delicate hue. The roses are large and in luxuri- 
ant bloom, and the juxtaposition of the brilliant 
colors artistically managed with the fine drawing 
make of this picture a handsome decorative pic- 
ture. 


Height, 30inches. Width, 21} inches. 
Signed at the left. 


WY? be, 1% Gio, Soh, ai 
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m * LAUGEE (DESIRE FRANCOIS), 


ee No. 6. The Gossips. 


The scene is in a wheat-field, on a fine day, 
when the sky is blue, with clouds of white and 
gray. Two women, who have been gleaning, are 
talking while one, who is sitting on a sheaf, cuts 
a loaf of bread, and the other, standing near at 
hand, holds two sheaves in her hands. The 
standing shocks of grain, and the other elements 
of the landscape, harmonize with the figures in 
composition and color, and the picture bears a 
true pastoral aspect. 


Height, 15 inches. Length, 18 inches. 
Signed at the right. 


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DUPRE (JULIEN). 


Born in Paris, March 17, 1851. Pupil of Pils and 
Lehman at the Ecole des Beaux-Arts, and of D. F. 
Laugée. Silver medal, Paris Universal Exposition, 
1889. Chevalier of the Legionof Honor. Paints 
figures and landscape, and is a strong cattle painter. 
His style is original, and his work is of high tech- 
nical excellence. 


No. 7. Normandy Peasant. 


A figure of a girl in blue and purple woolen 
garments, and with a red ’kerchief on her head, 
coming through the fields. The sky is gray, and 
the upper part of the figure is relieved against it 
with fine effect ; a pitchfork and rake, which she 
carries over her left shoulder, appearing with 
picturesque lines in silhouette. On her right 
arm she carries a large square lunch basket- or 
kit, in which the noon-day meal for the workers 
in the field is taken to them. A frankly painted 
work by a painter whose life-work has been the 
study of the peasant and his picturesque sur- 


roundings. 
Height, 13} inches. Width, 9 inches. 
Signed at the left. Dated 1886. 


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Born at Bordeau®. 
lar exhibitor at the saith, and the crip of vari- 
ous artistic honors. 


No. 8. Jean Jacques Rousseau aux Char- 
mettes. 


This beautiful little picture shows the great 
Rousseau in a morning gown and a fur-bordered 
cap, looking out of his window at The Char- 
mettes on the garden and forest surrounding his 
sylvan retreat. The figure is a portrait and an 
excellent one, and the picture was painted by Gri- 
son sur place in the room occupied by Rousseau, 
for the painter lives a good partof the time at 
Thonex, near Geneva. This picture, like all the 
Grisons in the collection, was purchased by Mr, 
Disbecker directly from the artist. The room 
shows a table, a wall case of books, and inside 
shutters turned back from the open window. 
Rousseau holds in his hand a quill pen, and the 
head, no larger than a dime, is painted with ad- 
mirable art. Both in its historical aspect and by 
reason of the astonishingly clever painting of the 
figure and accessories, this is a very remarkable 


work. 
Height, 7} inches. Width, 54 inches. 
Signed at the left. 


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JACQUET (JEAN GUSTAVE). 


Born in Paris, May 25, 1846. Pupil of Bouguer- 
eau, First class medal, Paris Salon, 1875. Chev- 
alier of the Legion of Honor. His portraits and 
pictures of women have given him a high reputation 
as a painter whose work is marked by delicacy of 
color and charm of expression. 


No. 9. Delphine. 


A head of a lovely girl with dark hair and eyes, 
with a white ruff about her neck, and a blue and 
plum-colored corsage. This charming head is 
an artistic and not a commercial example of the 
talent of a gifted painter of beautiful women, and 
the expression is evidently studied for its inherent 
grace andcharm. Painted with full modelling 
and refined and subtile color. 


Height, 12} inches. Width, 94 inches. 
Signed at the upper right. 


13 


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RAFFAELKI {JEAN FRANCOIS). 
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Born in Paris. } Contemporary. Gold medal Paris 
Universal Exposition, 1889. Chevalier of the Le- 
gion of Honor. He made his déuf as an artist at 
the first exhibition of the ‘‘ Independents,” or *‘ Im- 
pressionists ” in Paris, in 1879, and has since then 
achieved solid success, and is rated as one of the 
most individual of modern painters. His works are 
especially remarkable for the study of character in 
modern types. 


No. 10. His Morning Exercise. 


One of the interesting character pictures which 
have made the name of the painter known to the 
art world in both hemispheres. An old man with 
a gray beard sits on a bench under the trees by 
the river side with his walking-stick and news- 
paper. Something has attracted his attention, 
and he looks up with his spectacles on his nose, 
his expression showing interest and donhomie. 
Across the stream is seen a country inn embow- 
ered among the trees, with an arbor before the 
doorway. The picture is painted with the char- 
acteristic Raffaélli handling, and shows the deli- 
cate harmonies of gray, white, green, and black, 
which are favorite notes in the artist’s color 
schemes. It is individual in style and personal 
in execution. 


Height, 18} inches. Width, 12} inches. 
Signed at the right. 


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RICO (MARTIN). 


Born at Madrid, Pupil of Féderico de Madrazo 
and afterwards studied in Paris and Rome. Vari- 
ous medals at Paris Salon and Universal Exposi- 
tions. Chevalier of the Legion of Honor. . 


No. 11. Garden of San Silvestre, Venice. 


The water of the canal fills the immediate fore- 
ground, and at the gate in the wall, through which 
may be seen the trees and flowers of the garden, 
stands a young woman with ared shawl about her 
shoulders. To the right isa gondola, with a man 
playing a guitar in a mid-day serenade, and above 
the garden wall and trees rises a house with 
warm, white stucco, and the tower of the church. 
Over all is the bright blue sky. This picture 
bears the characteristic marks in handling and 
general treatment that make Rico’s pictures of 
Venice so distinctive, and in composition and 
subject it is extremely attractive. 


Height, 19} inches. Width, 11} inches. 
Signed at the left. 


15 


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Born in France. A contemporary painter of 
landscape whose works, which he began to exhibit 
only a few years since, have brought him a remarka- 
ble reputation. Belongs toa family of artists whose 
home is in the Vosges, and is not to be confused 
with Xavier Monchablon, the classical painter. 
His pictures are wonderfully truthful in detail and 
equally remarkable for breadth of general effect. 


No. 12. A Quiet Corner. 


This picture in gray weather is different in mo- 
tive from the wide stretches of country the artist 
usually takes for his themes. There are fields 
and gardens behind a village with stone walls 
dividing the small holdings of the inhabitants, 
cows pasturing here and there, and a woman 
in a dress of black and white watching them. A 
big willow tree with its heavy topped trunk ap- 
pears at the left, its delicately foliaged branches 
spreading upward against the sky. Detail is 
united with breadth, and the scene breathes a 
pastoral air justifying the title. 


Height, 13} inches. Width, ro} inches. 
Signed at the right. Dated 1889. 


DAUBIGNY (KARL). 


Born in Paris, June 9, 1846. Son and pupil of 
Charles Francois Daubigny. Formed a style of his 
own and received medals at the Salon. His land- 
scapes are highly appreciated in France, but are not 
very well known in the United States. Died in 
Paris in 1886. 


No. 13. Landscape. 


Gray and pearly in general effect of color, this 
landscape by Karl Daubigny might easily be 
taken for a work by his father, the great landscape 
master. But it contains also distinctive personal 
qualities such as mark the productions of Karl 
Daubigny, who, in a comparatively short career, 
achieved a decided individual success as a faith- 
ful and artistic portrayer of nature. The simple 
elements of the composition, the river, the trees 
in the middle distance, the women washing on 
the shore, and the gray sky with dark ciouds in 
the upper portion, are painted broadly, frankly, 
and with great truth of observation. 


Height, 9 inches. Length, 15} inches. 
Signed at the left. Dated 1885. 


- 


# BERNE-BELLECOUR (ETIENNE- 


PROSPER). 


Born at Boulogne, June 29, 1838. Pupil of Picot 
and Barrias. Chevalier of the Legion of Honor ; 
medals at the Salon and Universal Expositions. 
The painter of many excellent works depicting the 
soldier’s life, which here ee him an enviable 
reputation. 


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No. 14. Le Premier Déefiner. — f 
Two French troopers, their red and blue uni- 
forms covered by long gray riding cloaks, are 
sitting on the ground, leaning against bunches 
of faggots, which they have been to the forest to 
procure in the early morning, while a third stands 
nearby cutting a loaf. A big brown dog sits 
beside the latter and expectantly waits for his 
share of the frugal repast. The soldiers have 
stopped by the roadside on the way to the bar- 
racks in the town, which appears in the back- 
ground, and the scene is a most picturesque 
illustration of the soldier’s life. The composition 
is excellent, and the general aspect of the picture, 
with the stalwart figures of the troopers and the 
gray-day effect of the landscape, is extremely 
attractive. Unlike de Neuville, Berne-Bellecour 
seldom paints soldiers in action, or battle scenes, 
but finds his subjects principally in the daily life 
of the troops, in barracks, or on the march during 
manceuvres. This picture is a fine example of 
his artistic treatment of one of his favorite themes. 
Height, 18inches. Length, 24 inches. 


Signed at the right. 
18 


DEMONT (ADRIEN-LOUIS). 


' Born at Douai, France. Contemporary landscape 
‘painter. Pupil of Emile Breton, son-in-law of 
Jules Breton, being the husband of the celebrated 
painter Madame Virginie Demont Breton. Chev- 
alier of the Legion of Honor; Gold Medal, Paris 
Universal Exposition, 1889. His picture, ‘* A Mill,” 
is in the Luxembourg Museum, Paris, and his works 
are considered as among the best of modern land- 
scapes. Excels in moonlight effects. 


No. 15. Moonlight at Montgeron. 


This is a beautiful effect on the long twilight of 
Northern France. A road leads into the picture, 
passing through the meadows with a tree on the 
right of it, about in the middle of the composition, 
and there are hills and foliage beyond. The 
picture is full of air, and the evening atmosphere 
is delightfully depicted. Form is observed in 
every part of the picture without detracting from 
the mysterious evening effect, and the color is 
truthful in its reserved, full power. The moon 
rising above the horizon shines softly over the 
landscape, and the general aspect of the picture 
is exceedingly poetical. 


Height, 18 inches. Length, 31} inches. 
Signed at the right. Z 


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No. 16. Le Premier ‘Soleil, 


Over the wide stretch of flat fields, t plowed 
in the foreground, browse afew sheep. In the 
middle distance is a long low line of red-roofed 
houses and barns. Beyond is a vast expanse of 
country with hills and valleys. A fine sky of the 
most delicate tints, exquisitely gradated from the 
lightest part on the right, near where the sun is, to 
the bluest portions on the left, further away from 
it, fills the upper part of the picture, and the air 
of springtime is apparent in every part of the 
work. Monchablon might be called the Meisson- 
ier of landscape, for his handling of detail, as in 
this picture, is marvellous ; but he also paints with 
so much breadth of conception that his pictures 
are complete in the large sense. This is a nota- 
ble example of his talent. 


Height, zoinches. Length, 29 inches. 


Signed at the right. Dated 1879. 


‘ade SATO jeer 


20 


CORTAZZO (ORESTE). 


Bornin Italy. Contemporary, A celebrated genre 
painter whose works are in several known collec- 
tions in the United States. 


No. 17, The Interrupted Sitting. 


In a studio, filled with rich properties, rugs, 
tapestries, furniture, armor, stuffs, and costumes, 
an artist is shown, who has just risen from his 
easel, where he has been painting a nude figure, 
to welcome two ladies, who have come to make 
a visit. The foremost of the two is young and 
aristocratic looking, and is dressed in a costume 
of rose-color with a black lace mantilla. The 
other lady, who follows her, is of noble aspect, 
and a footman appears behind her, who has just 
drawn apart the curtains that shield the entrance 
doorway. In the meantime the model has fled to 
a refuge behind a screen at the left of the picture, 
where she stands wrapped in a red covering, and 
must wait till the interview is over. The figures 
and accessories are painted skillfully, and the pic- 
ture is bright in its color scheme, and effective in 
composition. 


Height, 18 inches, Length, 27 inches. 
Signed at the right. Dated 1870. 


21 


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¥ 3 ) LAUGEE (DESIRE FRANCOIS). 


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Born at Maromme (Seine-Inferieure), France, 
January 25, 1823. Father of Georges Laugée. 
Pupil of Picot. Chevalier of the Legion of Honor ; 
first class medal, Salon of 1861. Member of the 
Institute of France. He first painted portraits, 
but afterward turned to out-of-doors genre, and his 
reputation was made chiefly in the latter class of 
works, 


No. 18. After the Rain. 


A white walled cottage on the left of the pic- 
ture stands ona village street with a bit of its 
thatched roof showing at the upper part of the 
canvas. At the door in the foreground on the 
stone stoop is a peasant girl with two pails of water, 
turning her head to speak to another woman at 
the farther end of the house, who dips up water 
from a tub placed under the rain spout. Green 
grass on the sidewalk, dark trees at the end of 
the street, a rain-washed gray sky, and excellent 
atmospheric effect combine to set off the principal 
figure with pleasing effect. The picture shows 
skillful handiwork and much truth of observation, 
and the figure of the girl with her picturesque 
costume is pretty and attractive. 


Height, 18 inches. Width, 15 inches, 
Signed at the right. 


22 


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Dees, (F. JAN). 


No. 19. Un Chemin eee ies Moissons, 


Under a beautiful blue sky, with clouds of white 
near the horizon burnt out by the heat of a sum- 
mer’s day, yet massive enough to show their forma- 
tion, lie wide fields of ripe grain with a road 
leading through them to a valley beyond and 
continuing in a white strip over the next hill. 
The vast expanse of country is covered with 
crops ripening in the sunshine even to the distant 
hills at the horizon. In the road in the middle 
distance, a peasant with his scythe over his 
shoulder is seen walking along with his sweet- 
heart, his arm around her waist. There is a fine 
sense of atmosphere in the picture, and the tender 
blue sky is gradated in color with the most 
wonderful delicacy. This feature of the land- 
scape painting of Monchablon, always so remark- 
able, is here exhibited in one of its most beautiful 
phases, and the picture is amazingly true to nature 
and poetic as well. 


Height, rot inches. Length, 25} inches. 
Signed at the right. 


23 


| Bis LAUGEE (GEORGES). 
ee 


No. 20. The Gleaners. 


A pretty pastoral showing a peasant girl stand- 
ing in a wheat-field with her arms akimbo, with a 
lad before her on his knees binding her sheaf. 
The figures are well characterized, the composi- 
tion is agreeable in its lines, and the tone of the 
landscape harmonizing with the colors of the 
dress of the peasants, forms an attractive setting 
for this poem of the fields. 


Height, 213 inches, Length, 264 inches. 
Signed at the right. Dated 1886, 


24 


MADRAZO (RAYMUNDO DE). 


Born in Rome, age 1841. Son and pupil of 
Don Féderico de Madrazo y Kunt, of the Ecole des 


Beaux-Arts, and of Léon Cogniet, Paris. Gold 
Medal, Paris Universal Exposition, 1889: Officer 
of the Legion of Honor. Several of his pictures 
were in the Wm. H. Stewart Collection, and he was 
the brother-in-law and acompanion of Fortuny. He 
has resided in Paris during his artistic career, and is 
identified with the French School. At the present 
time (1898) he is in New York painting portraits. 


No. 21. The Spanish Dance. 


A scene in a beautiful garden with two young 
women in the picturesque costumes worn in 
Spain. One of the women, a dark gypsy-like 
creature, with black hair and a flower above her 
ear, clad in a gown of white with full, long skirt, 
and with a red shawl on her shoulders, dances 
with willowy grace to the music of a guitar played 
by her companion, a charming belle, slight, fair 
of complexion, with dark hair. She sits on a 
bench at the left of the picture before the high, 
white plastered garden wall, and wears a skirt of 
light, changeable blue and a shawl of yellow em- 
broidered with flowers. Above the wall where 
vines are growing a bit of blue sky appears and a 
tree and a clump of bright blossoms make up the 
other elements of the composition. The picture 
is admirably painted throughout in Madrazo’s 
best and most attractive style. It is delightful 
in sentiment, and remarkable for the grace of the 


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women ; and the exquisite execution of such parts 
as the hands of the seated figure is as accurate as 
Meissonier, yet as broad and suave as Velasquez. . 


Height, 254 inches. Width, 16 inches. 
Signed at the right. 


ISABEY (EUGENE-LOUIS-GABRIEL). 


> aad Born in Paris, July 22, 1804; died there, April 
26, 1886. Son and pupil of Jean Baptiste Isabey 
(1767-1855). In 1830 he accompanied the French 
Expedition to Algiers as royal marine painter. Offi- 
cer of the Legion of Honor. Works in most of the 
State museums in France. 


No. 22. Coast of Brittany. 


An early work of sterling merit. A house and 
shipyard on shore to the left, the sea, with boats 
running before the wind, and a dramatic sky 
composed of storm clouds of black and gray, with 
the blue sky showing here and there make up 
the composition. The sea looks wide and threat- 
ening, and the color notes are so disposed as to 
make the general effect of the picture both strik- 
ing and veracious. It is not unlike some of the 
celebrated Dutch marines in a general way, and 
as an example of the art of a man whose career 
was a continuous succession of triumphs, it is in- 
teresting in the extreme. 

Height, rr inches, Length, 17} inches. 


Signed at the left. 
26 


3 i fio Pe 


BOLDINI (GIOVANNI). 


er. at Ferrara, Italy, in 1845. He first painted 


in Florence, but has resided in Paris and has been 
identified with the French school since 1872. At 
the present time (1898) he is passing the winter in 
New York, painting portraits. Boldini’s earlier 
productions were small interiors, with figures and 
landscapes; these gained him great renown, and 
these pictures are eagerly sought for by collectors. 
For the past decade he has given his time to por- 
trait painting, and in this branch of art has achieved 
an individual and commanding success. Chevalier 
of the Legion of Honor ; Grand Prize at the Paris 
Universal Exposition, 1889. 


No. 23. On the Seine at Bougival. 


A bright summer day at this suburban resort of 
holiday-making Parisians. Some steam launches 
and a paddle-wheel Jdateau-mouche are moored 
inshore at the left, and several rowboats, with 
their occupants in outing costume, are scattered 
about the river. A white house, with its walls 
and roof reflected in the water, stands on the 
bank, and the opposite bank shows trees and a 
towpath with a horse dragging his load. Birds 
are flying in the air, and the scene is full of 
gaiety. It is needless to say that everything is 
skillfully painted, and that the handling is of the 
cleverest, for this picture is one of those wonder- 
fully clever works that made Boldini’s high repu- 


tation. 
Height, 11 inches. Length, 18% inches. 
Signed at the left. 


vp Een, 
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pas PM Ooi e ek ou. 


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x,” | MONCHABLO fs JAN). 
| No. 24. The Valley of the Saéne. 


A wheat-field in the foreground, with a wide 
ye stretch of country beyond. In a valley in the 
ne middle distance is a village with red roofs shin- 

ing in the sun. The effect is in afternoon sun- 
light, with clouds hanging in the sky as they do 
on still, hot summer days. The sun is high up, 
and the landscape is bathed in its light, but with 
a somewhat misty gray effect of color. As in all 
of Monchablon’s work, detail is given in this 
landscape with great accuracy and fidelity, but 
the general effect is exceedingly broad and uni- 
fied. A characteristic scene in the beautiful 
country of the Céte-d’Or, and a remarkable ex- 
ample of the work of a painter whose rank as a 
paysagiste is deservedly high. 


Height, 21 inches. Length, 29 inches. 
Signed at the right. Dated 1887. 


MURPHY (J. FRANCIS). 


Born at Oswego, N. Y., in 1853. Self taught ; 
National Academician; member of the American 
Water Color Society ; Webb Prize, Society of Amer- 
ican Artists, 1887. One of the best-known Amer- 
ican landscape painters, whose works are in many 
private collections. They are highly appreciated 
for their refined color qualities and excellent com- 
position. 


No. 25. The Path to the Village. 


A fine example of the work of one of the best- 
known American landscape painters. A narrow 
path winding through the grass leads over the 
crown of a slope, where the roofs of houses and 
a church tower appear. A vista of distant hills 
opens up the middle of the composition, and to 
the right there isa clump of trees. The com- 
position is finely balanced, and the color shows 
the delicate greens and grays that the artist uses 
so successfully. Vigorously painted and unified 


in effect. 
Height, 334 inches. Width, 21 inches. 
Signed at the right. 


29 


Ne 


oO 


INNESS (GEORGE). 


Born at Newburg, New York, May 1,1825 ; died 
in Scotland, August 3, 1894, while on a summer 
journey. Pupil for a very short time of Regis 
Gignoux in New York, and visited Europe for study 
several times. National Academician, 1868. Gen- 
erally recognized as the greatest of American land- 
scape painters. His pictures, always founded on 
truth to nature, are remarkable for splendid color 
and wonderful atmospheric quality. 


No. 26. Landscape. 


A broad road at the outskirts of a village, with 
a flock of sheep coming toward the spectator, 
with a shepherd behind them. On the right there 
is a large spreading tree and clumps of foliage, a 
stone garden wall, a house half hidden in the ver- 
dure, and broad flat stretches of grass on either 
side of the road make a picturesque and peaceful 
ensemble. The sky in blue with white clouds in the 
horizon; and there are brilliant red notes here and 
there in the foliage—signs of the autumn. The 
color scheme is in general rich and warm, and the 
asnect of the picture is very attractive. A fine 
little specimen of the work of the great landscape 
painter. 


Height, 12} inches. Length, 18 inches. 
Signed at the left. 


MK ASE PP V2Kx 
Ye7ObE See~ 


#5 
MAUVE (AN TORE, is 


Did “ea Nie 


i 


Born at Zaandam, ee: Pupit of P. F, Van 
Os. Contemporary Dutch «painter, whose pictures 
of sheep and landscape have a wide reputation, 
and are highly valued by connoisseurs. One of the 
leading artists in the modern Dutch school, and 
noted for his water color work as well as for his 
painting in oil. 


No. 27. Shorn Sheep. 


A small flock of sheep entering a barn, the door 
of which is held open bya peasant girl. With a 
weather-beaten gray barn, a sky of light gray, 
characteristic of the Holland climate, the pale 
greens of the landscape beyond, and the bare 
bodies of the sheep, one of which is black, the 
artist has carried out a fine scheme of sober tints, 
accenting it with a note of dark blue in the bon- 
net and skirt of the girl. The picture is fine in 
general tone, and the sheep are portrayed with 
the intimate knowledge that has made the painter 
famous. Always a favorite with American ama- 
teurs, Mauve in this example is seen in one of his 
best and most interesting phases. 


Height, 17 inches. Width, 15 inches. 
Signed at the right. 


31 


or 


BONNAT (LEON-JOSEPH-FLOREN- 
TIN). 


Born at Bayonne in 1833. First studied in Mad- 
rid, where he was a pupil of Féderico de Madrazo, 
and afterwards was the favorite pupil of Léon Cogn- 
iet in Paris. M. Bonnat is the officially recog- 
nized head of the French school, and is a Member of 
the Institute. He received the medal of Honor at 
the Salon as long ago as 1869, and is a Commander 
of the Legion of Honor. Besides historical com- 
positions and pictures of Italian peasant women and 
children he has painted a great number of famous 
portraits. The heads of royal houses, the presidents 
of the French Republic, great statesmen, men of 
letters, and fashionable ladies all sit for him in his 
grand studio in the Champs-Elysées. 


No. 28. Italian Girl. 


Half length picture of a pretty Italian peasant 
child. The upper part of the face is in shadow, 
and the olive complexion of the little girl, her 
dark eyes and hair contrast with the strong effect 
of light on the white head-dress and sleeves. An 
apron of red and dull yellow reaching up high on 
the bodice and red in the sleeves make attractive 
color notes. The expression is sweet and engag- 
ing. This is an excellent example of the great 
French master’s small easel pictures which he 
now has no time to paint, and as such for its 
rarity, as well as for its fine quality as a morceau, 
is a very desirable picture. 

Height, 14 inches, Width, 10} inches. 
Signed at the upper left. 
32 


NEUVILLE a Nee MARIE DE). 
Born St, Omér (Bae ie Calais), May 31, 1836; 
died in Paris, May 20, 1885. Pupil of Picot. He 
spent three years in the Law School in Paris, in- 
tending to be a barrister, but gave it up and became 
a painter, achieving early success. Officer of the 
Legion of Honor. The great battle painter of the 
Franco-Prussian War, and shares with Detaille 
the honor of being the foremost military painter of 

the century, 


No. 29. The Bivouac. 


In this small picture with a Zouave in the fore- 
ground, the famous military painter has madea 
complete composition—not merely a study of a 
single figure. The Zouave, solidly ‘‘ planted” 
and leaning on his gun, is painted with all the 
strength and nervous force that characterize De 
Neuville’s work,and in the background two officers 
are seen chatting, while a group of soldiers tend the 
camp fire. Thealert expression given by the atti- 
tude of the Zouave shows that he is a picket, and 
the setting of the scene in a forest with snow on 
the ground reveals the story of a small detachment 
of troops at an outpost in some winter campaign. 
Complete in every part, and with the attributes 
in drawing and color that belong to De Neuville’s 
artistic achievement, this is a most satisfactory 
example of his work. 


Height, 13} inches. Width, 9} inches. 
Signed at the left. Dated 1878. 
naj - aaiiaai tak 


MADRAZO (RAYMUNDO DE). 


No. 30. ‘‘ Coco.” 


A white cockatoo on his tall perch, a light gray 
background, a couple of branches of japonica 
with scarlet blossoms, and three mice, two black 
and one white, nibbling seeds in the pan at the 
base of the perch, are the elements in this inter- 
esting picture. ‘‘ Coco” wears an expression of 
refined curiosity with a pretense of indifference, 
and cocks his head on one sidein a very taking 
way. As apiece of painting the picture is re- 
markable for the facility with which the feathers 
are rendered, the tender quality of the white, and 
the agreeable ensemble presented by the simple 
color harmony. 


Height, 213 inches. Width, 9 inches. 


Signed at the right. 


34 


MUNOZ (DOMINGO). 


No. 31. The Armorer. 


Two guardsmen of the time of Louis XIII 
(the epoch when d’Artagnan and the Three Mus- 
keteers fought their battles and pursued their 
exciting adventures), clad in buckskin doublets, 
sashes, and plumed hats, are shown in this com- 
position in an armorer’s workshop. The ar- 
morer himself is seen taking down swords from 
his shelves at the left of the canvas, to submit to 
the inspection of his soldier customers. Both of 
the guardsmen are evidently fighting men, and 
are bronzed and hardy. In the back part of the 
shop appears the forge, with a man nude to the 
waist dimly seen at work before the fire. The 
color scheme of the picture, with its chief tones 
of gray, yellow, and black, and its telling notes 
of red and crimson in the costumes and acces- 
sories, isa very distinguished one, and it is carried 
out with fine artistic feeling. There is a great 
deal of excellent detail painting, and the ensemble 
is well preserved, making a work of decided per- 
sonal quality and great beauty of general aspect. 


Height, 11 inches. Length, 14 inches. 


Signed at the left. Dated 1883. 


35 


MORGAN (WILLIAM). 


Born in London in 1826. Pupil of the National 
Academy of Design, New York ; associate member 
of the Academy. He is a widely-known painter of 
genre and portraits, and many of his works are in 
private collections in the United ie oe jo 

fer 
Ay 


This boy with his hands in his eu a straw 
hat on his head, and an expression both of face 
and figure that seems to indicate that he is con- 
tent to be lazy, is painted with quiet humor. His 
gingham shirt and faded trousers proclaim him a 
product of village life ; his esud proceeding, per- 
haps, as much from his dull surroundings as from 
any inherent disinclination to be active if some- 
thing interested him sufficiently. The color is 
subdued, and the handling unobtrusive. 


No. 32. ‘‘ Born Tired.”’ be 
€ 


Height, 16 inches. Width, ro inches. 
Signed at the right. 


36 


MONCHABLON (F. JAN). 
wm. KV) 1! 
No. 33. ‘‘La Neige va tomber,” 
Ae * vf 
In this beautiful wit landscape a wide road 
leads from the front of the picture’ to a town lying 
in a valley. Along the top of the incline are 
houses, and in the hollow below a church spire. 
A carrier’s cart is on its way to the town, and the 
tracks appear in the old snow on the roadway. 
Everything is wrapped in snow, the atmos- 
phere is still, the sky dull gray, and, as expressed 
in the title, the snow is about to fall again. In 
so dreary a picture of winter as this, the artist 
has infused a fine poetic sentiment, and portrays 
the scene with the most delightful breadth and 
simplicity. The subtle values of the white snow 
at varying distances, the broad expanse of win- 
ter’s mantle, and the exquisitely gradated sky—a 
never-failing point of excellence in Monchablon’s 
work—are all given with fidelity and artistic 
unity. 
Height, 15 inches. Length, 22 inches. 
Signed at the right. Dated 1887. 


37 


JACQUE cai EMILE). 


(Selo, pon 

Born in ws May 23, Wipe died there in 1894. 
Celebrated for his pictures of sheep and poultry, 
and for his etchings. He was a Chevalier of the 
Legion of Honor, and received in addition to Salon 
medals, and other honors, a gold medal at the Paris 
Exposition of 1889. Few French artists have a 
more widely extended reputation, and his works are 
highly valued by collectors both in Europe and 
yiymerica. 


Ane. 34. The Pasture. 


On a sort of plateau with a field in the middle 
distance, and hills and the sky beyond, with the 
foliage of the spreading branches of a tree filling 
the upper part of the picture, sits a shepherdess 
tending her flock. A ewe and lamb appear in 
the foreground, and other sheep are seen to the 
right under the trees. The sheep are skillfully 
painted, of course—as Jacque is the painter—and 
the general tone of the canvas is rather light 
in color, without sombre notes. The peaceful 
sentiment of the subject is artistically interpreted, 
and the ensemble of the picture is harmonious and 


attractive. 
Height, 18 inches. Width, r5 inches. 
Signed at the right. 


38 


gene bs 
| ee he 
et Pt 4 bi 


tes, 


\ 
MAX (GABRIEL). 


Born in Prague, August 25, 1840. Son of the 
sculptor, Josef Max; pupil of Prague Academy, 
Vienna Academy, and of Piloty of Munich. First 
exhibited in 1867, and is one of the most celebrated 
artists in the German School. Gold medals in 
Berlin and Munich. His ‘‘ Last Token—Christian 
Martyr” is in the Wolfe Collection, Metropolitan 
Museum, New York. 


No. 35. Marguerite. 


A beautiful full type of maidenhood is shown 
in this head by the famous German painter. Its 
pale color but fleshy texture, the blonde hair, 
brown eyes, white neck and shoulders, and the 
bit of bluish drapery over the bust, make a sym- 
pathetic, expressive picture. It is modelled with 
a full brush and the flesh tints are especially 
luminous. A characteristic example of the best 
work of an artist whose pictures are individual in 
style and always possess artistic qualities. 


Height, 19 inches. Width, 15} inches. 
Signed at the left. 


39 


ai 


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me 


JIMENEZ Y ARANDA (JOSE). 


Born in Seville, Spain, 1832. Brother of Luis 


Jimenez and pupil of Seville Academy. Medals in 
Munich and Paris. 


No. 36. The Old Notary. 


Care and ability are shown in the painting of 
this figure of an elderly man in a flowered coat 
who is cutting a quill, and whose expression—with 
spectacles on nose—shows intentness and good 
humor tinctured with the dry-as-dust character of 
his avocation. The chair, table, inkstand, and 
other accessories are in character with the figure, 
and the picture shows conscientious, clever work 


throughout. 
Height, 14 inches. Width, 108 inches, 


Signed at the right. Dated 1889. 


PILTZ (PROF. OTTO). 


Genre and portrait painter of the Contemporary 


German School. His work is celebrated for its 
excellent study of character and good quality of color. 


No. 37. Wide Awake. 


A head of a jolly, flaxen-haired boy with big 
blue-gray eyes and a rosy, healthy complexion. 
The face is alert in expression and full of boyish 
character. It is skillfully and amply painted and 
especially notable for the fresh, strong quality of 


the color. 
Height, 8 inches. Length, ro inches. 


Signed at the upper left. Dated 1881. 


40 


se 


GRISON (JULES ADOLPHE ). 


No. 38. At the Antiquary’s. 


In this picture a beautifully painted figure of a 
man with powdered hair and wearing a Louis 
Quinze coat of red velvet, is seated with one hand 
holding a silver-topped long cane and the other 
holding out before him a little conch-like vase, 
forms the motive of the composition, while the 
dealer behind him—facing the spectator—leans 
over in an attitude of expectation. The still-life 
in the picture is extremely well painted and the 
color scheme is most agreeable. The eye rests 
with delight on the figure of the man in the chair ; 
for although the picture is one of great merit in 
every part, there is something about this personi- 
fication that is rarely individual and striking. It 
would be hard to find anywhere a more ably 
painted figure, and it, of itself, gives this excel- 
lent work an extraordinary interest. 


Height, 9} inches, Width, 74 inches. 


Signed at the right. 


‘ 
md 


VA 


eittg 
bom a 


MONCHABLON (F. JAN). 


No 39. Fau (Aquarelle). 
‘Stet aaivnaieanneieaiem 

In this beautiful design we see Monchablon ina 
new light. His decorative fancy is seen to be fer- 
tile and picturesque, and the water-color medium 
is handled with lightness of touch and sureness of 
effect. Onthe rightis a great beechwood tree, on 
the trunk of which a young peasant is cutting the 
name of his sweetheart, Marie, who also stands be- 
side him. At the left there is a stream with reeds 
and water plants reflected in its tranquil surface. 
In color this piece is charming, the light tints 
producing an effect that is extremely pleasing. 


Height, 12 inches. Length, 24 inches. 
Signed at the right. 


42 


om 


[ww 


. DAUBIGNY (CHARLES FRANCOIS). yA / { 

Born in Paris, February 15, 1817; died there, 
February 20, 1878. Pupil of Edmé Francois 
Daubigny at first, then visited Italy, and on his 
return to Paris studied under Paul Delaroche, Ex- 
hibited constantly at the Salon from 1838 to the 
year of his death. Various medals, and Officer of 
the Legion of Honor, Ordinarily grouped with 
Corot and the Barbizon painters, and one of the 
greatest landscape painters that ever lived. 


No. 40. On the Oise. 


This composition shows one of the scenes which 
the great Daubigny loved to paint—a view on the 
river Oise, along which he used to float in his 
house-boat studio. A road at the left winds up 
the hill on the bank of the river, and some men 
are seen watering their horses, while women are 
washing clothes at the brink. In the middle of 
the picture some tall trees stand up against the 
sky of blue and white with dramatic effect, and the 
opposite bank is covered with trees. The fine 
general tone of this picture with its frank color in 
the sky and its subtle greens and grays in the 
landscape, make it a brilliant example of the 
famous painter. 


Height, 18 inches. Length, 274inches. 
Signed at the left. 


43 


JACQUE (CHARLES EMILE). 


No. 41. A Hot Summer Day. 


A majestic picture, embracing the finest quali- 
ties of the great sheep and landscape painter, 
The foreground slopes upward and shows a few 
rocks, and old sod such as sheep delight to feed 
on. On the slope is a flock of sheep, their heads 
close together, cropping the short grass and herb- 
age. In the middle of the composition rises a 
great tree with its widespread branches reaching 
to the top of the canvas. Behind it is another, 
and beyond is the edge of a forest. In the shade . 
lies a young farmer in his shirt sleeves with his 
dog beside him. The white note made by the 
shirt, the black note made by the dog, appear in 
the color scheme with telling effect, and are bal- 
anced on the other side of the composition by twoor 
three sheep with black or dark brown fleece. The 
trunk of the great tree is massive, and solidly and 
realistically painted; the foliage is carefully 
studied and rendered with great breadth of 
handling and richness of color. The sky is gray, 
very fine and luminous in effect, and at the left 
of the picture is a plain with distant hills. The 
sunlight bathes the landscape in warm, golden 
light, and the splendid greens and browns and 
grays, appear in a matchless harmony of color. 
This is one of the most imposing and beautiful 
of the works of Jacque, and fully deserves the title 
of masterpiece. 


Height, 29 inches. Width, 254 inches. 


Signed at the right. 


44 


1 TROYON (CONSTANT). 


Born at Sévres, August 28, 1810; died in Pari 


February 21, 1865. Pupil of Riocreux, Poupar ih 


and Roqueplan. He visited Holland in 1847, and 
after 1848 introduced animals in his landscapes. 
The greatest cattle painter of the century, and one 
of the first landscape painters. Chevalier of the 
Legion of Honor, and received during his career 
many high artistic honors. 


No. 42. The Woodchopper. 

Troyon, as is well known, achieved great suc- 
cess as a landscape painter before he took up the 
study of animals. A fine example of his land- 
scape work is ‘‘ The Lane,” sold this season in 
the Wm. H. Stewart collection. ‘* The Wood- 
chopper ”’ is an equally remarkable picture. In 
the foreground is a felled tree at the roadside, 
with dead leaves clinging to its branches, and 
a man swinging his axe. A tall tree on the left, 
a plain, and a distant line of forest beyond com- 
pose the picture, with a fine sky over all, with 
banks of gray and white clouds. The blue 
shows in the spaces between the cloud masses, 
and the picture is notable for its distinguished 
scheme of color and virile painting. The warm 
tints of nature are interpreted with a fine re- 
serve force, in no place inclining to hot browns or 
heaviness in the grays, and the general effect is 
imposing and restful. It is not unlike a Rous- 
seau in general aspect, but contains its own 
distinctive character—the robust art of a painter 
whose work never fails to attract by its sincerity 


and strength. 
Height, 19 inches. Width, 14 inches. 


Signed at the right. 45 


a. 


a 


ROUSSEAU (PIERRE ETIENNE 
THEQDORE). 


Born in Paris, April 15, 1812; died at Barbizon, 
December 22, 1867. Pupil of Rémond and of 
Lethiere. With Corot, Daubigny, Dupré, and 
Diaz, he founded the modern French school of 
landscape painting. He was at first unsuccessful 
at the Salon, but his ability was afterward recog- 
nized, though not so fully as it should have been, 
owing to official intrigues. He was made a Chevalier 
of the Legion of Honor in 1852, but did not secure 
the coveted promotion to the grade of officer. Uni- 
versally Wy one rEg eS great glories of 


French art. S. j 4 fg 4% 


No. 43. eee in the Morning. 


A delicious small work by the great landscape 
master of Barbizon. A field where a man is 
ploughing with a team of gray horses, with tall 
trees against the sky beyond. A blue sky suffused 
with morning mist and a few little clouds floating 
on high. In the distance a figure in red makes 
a telling note in the color scheme, and a white 
house is seen embowered among the trees. This 
is a most poetic little canvas, and in tenderness, 
atmosphere, and delicacy of color quite beyond 
compare. It is full, complete, and in every way 
satisfying and delightful. 


Height, 6 inches. Length, ro inches. 
Signed at the right. 


46 


DIAZ DE LA PENA (NARCISO 
ES eaten ot 
psy Pk te a 

Born at sob or Seanish parents, August 
28, 1808; died at Mentone, November 18, 1876, 
He began the study of art as a painter on porcelain, 
and afterward took up painting figures and land- 
scape in oil. He became the friend and companion 
of Rousseau, Millet, Troyon, and other great French 
painters, and lived many years at Barbizon, paint- 
ing landscapes of the Forest of Fontainebleau. 
Chevalier of the Legion of Honor. Universally 
admitted to be one of the great lights of the modern 
French School, and ranked in the highest class of 
landscape painters of the century. 


No. 44. Twilight in Fontainebleau Forest. 


Known as ‘‘ The Offenbach Diaz” and was 
painted by the artist for the composer, who was 
his intimate friend. Mr. Paul Detrimont wished 
to buy it, but not even after the composer’s death 
could he secure it from his widow. He finally 
purchased it at the sale of Madame Offenbach’s 
effects, and it was bought from him by Mr. Dis- 
becker. The father of Mr. Paul Detrimont was 
the friend of Millet, Corot, Troyon, Diaz, and 
other famous painters, and his house was often 
made the place of their reunions in Paris. This 
small but very complete and beautiful panel 
shows a road leading up through a depression in 
the forest with dark trees in silhouette against a 

_ Sky which is clouded with gray, with bits of blue 
appearing here and there and a mass of warm, 
47 


white clouds at the horizon. A solitary horseman 
is introduced with dramatic effect in the roadway, 
and the last light of the day is concentrated on a 
bank of shale on the left of the composition, 
which contrasts with fine effect with the iron- 
gray of the clouds, the dark green of the trees, 
and the grays and cool dark browns in the fore- 
ground. The color scheme is distinguished and 
admirable in its unity, and the composition as a 
whole is remarkable for restrained force. 


Height, 83 inches, Length, 13} inches. 
Signed at the right. 


48 


RICHTER (GUSTAVE KARL 
LUDWIG). 


Born in Berlin, August 31, 1823; died there 
August 23, 1884. Pupil of Berlin Academy, and, 
in Paris, of Léon Cogniet. Medals in Paris, Ber- 
lin, Brussels, Vienna, Munich, and Philadelphia. 
Received from the German Emperor the famous 
order four le merite. His works, portraits, and 
genre, are in many public galleries in Europe. 


No. 45. The Picture Book. 


A minute but very complete genre picture, 
with six figures in a home-like interior, the whole 
no bigger than a man’s head. A young girl with 
smoothly brushed hair and a lace collar is playing 
mother tc a group of children gathered about her 
knees, to whom she is telling the stories connected 
with the pictures in the book she is showing 
them. The children wear quaint little costumes 
of the German village folk, and the expression of 
the faces and the attitudes of the figures show in- 
tentness and interest. The picture—the only 
cabinet-size genre subject by this artist known to 
be in America—is carefully finished, and in its 
unpretentious artistic rendering of a pretty scene 
in every-day life, recalls the Dutch masters, 
especially Terburg. 


Height, 7inches. Width, 6% inches. 
Signed at theleft. Dated 1852. 


49 


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ay 


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GRISON (JULES ADOLPHE). 


No. 46. The Rendezvous. 


This is a perfect gem of painting. A cavalier 
with a red coat on a black horse is waiting at the 
door in a garden wall, and steed and rider show 
an attitude of expectation. The cavalier with 
his powdered hair and long, riding boots, the 
saddle cloth of blue and gold, the bridle and 
trappings, are painted in minute perfection. The 
horse is finely drawn and his silky coat shines in 
the sun. Over the wall the trees in a park are 
seen and the shadow of the horse falls on the 
ground near the gate. Every detail is rendered 
in a manner that would do credit to Meissonier, 
and there is a fullness and breadth about the tiny 
panel that is as pleasing as it is wonderful. The 
picture may be carefully studied and close exam- 
ination will reveal a hundred charming bits of 
work and all united in a harmonious whole. 


Height, 5; inches. Width, 4} inches. 


Signed at the right. 


5° 


LELOIR (MAURICE). § 


Born in Paris, November 1, 1853. Pupil of his 
father, J. B. A. Leloir, and of his brother, Louis 
Leloir. Medal at the Salon of 1878. As well as 
having a high reputation as a genre painter of ex- 
quisite fancy, he is known as one of the cleverest 
illustrators of the time. His drawings in water 
color for an edition de luxe of Sterne’s Sentimental 
Journey are considered to be among the finest pro- 
ductions of our time in this branch of art. 


No. 47. French Fair. 


The talented and sfiritue/ painter of French 
gayety in the best sense of the word here gives 
us a scene in the outdoor amusements of the peo- 
ple. A tall hussar, in the red costume of a cen- 
tury ago, with his arms full of winnings at the 
shooting booths—a white rabbit, sheets of maca- 
roons, a painted vase, and other trinkets—stops 
to talk to a pretty vendor of cakes and wine who 
has her wares for sale under a striped marquee. 
The fine, red note in the hussar’s uniform is 
repeated in a more delicate tint in the sleeves of 
the young woman’s bodice, and various grada- 
tions of red and white in other parts of the pic- 
ture make up a scheme of color that is very pleas- 
ing. Beyond the cake-stand the tents and booths 
of the rest of the fair, with people in groups and 
walking about, and the green sward and foliage 
complete the setting for this charming fete cham- 
pétre. Technically, the picture is extremely 
clever, and while in the whole work the treat- 

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ment is light-handed and deft, it also gives evi- 
dence of that sobriety of handling, and of that 
honesty of method, which have gained for French 
modern genre such high consideration. 


Height, 12 inches, Length, 16 inches. 
Signed at the right. Dated 1877. 


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MONCBARLOY (F. JAN) ye 


- 


No. 48. Un Coin de craig ws Ns 


At the foot of a road i ae down hill into the 
picture, the town of Chatillon lies embowered 
among the trees. A church spire rises up at the 
right and there is a red-roofed cottage at the bend 
of the road. Beyond is a broad expanse of coun- 
try with hills and plains, and over all a summer 
sky of blue with small white clouds here and 
there. Possesses the characteristics of the artist, 


and is an interesting picture both in subject and 
treatment. 


Signed at the right. Dated 1889. 


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PASINI (ALBERTO). 


Born at Busseto, near Parma. Contemporary 
painter. Pupil of Eugéne Ciceri, Isabey, and Rous- 
seau. Medal of Honor at the Paris Universal Ex- 
position, 1878; Officer of the Legion of Honor. 
One of the most distinguished of the Oriental 
painters of modern times, whose pictures enjoy a 
widespread popularity, and are esteemed by artists 
for their remarkable technical qualities. 


No. 49. Market Scene, Constantinople. 


Here are the picturesque architecture of the Bos- 
phorus beautifully painted, the deep blue sky, the 
brilliant light, and the transparent shadows. In 
the foreground are people standing in groups, 
seated in crowds, or wandering about horses, a 
dog asleep in the sun, and jars, fruits, vegetables, 
and many other things. There is a wealth of 
color, but all is held together in a consistent whole. 
These market scenes are a favorite subject with 
this celebrated painter, but it is not often that one 
sees a picture by him with so much animation. 
Mr. Disbecker told the artist he wanted the pic- 
ture with plenty of life, and he got it. It is a 
most characteristic and perfect Pasini, and has in 
addition this feature of being full of life and 


movement. 
Height, r2} inches. Length, 16 inches. 
Signed at the right. Dated 1882. 


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GRISON (JULES ADOLPHE). 


No. 50. The New Coat. 


A very interesting genre picture, with a vein of 
humor in the subject. Monsieur and Madame, 
who are fine ‘‘ county people,” have brought the 
boy they have adopted to the provincial tailor to 
have new clothes tried on which are to fittingly 
dress him for his new life. The costumes are of 
the time of the Directory. The fair-haired boy 
Stands at the left with his arms held straight 
downward and the palms of the hands and fingers 
rigidly stretched out, while the old tailor, looking 
over his spectacles, seems to say to his aristocratic 
patrons: “* Never fear, I will fix everything just 
as it should be.” The lady, wearing a gown of 
narrow-striped stuff, and the master, in a coat of 
rich brown, standing beside her, look on the scene 
with interest in their faces, and behind the coun- 
ter the old tailor’s wife, in a white cap and big 
linen frill, holds the shop cat in her arms. A 
bird in its cage is suspended from the ceiling, and 
anumber of other accessories are introduced, 
making an appropriate setting for the figures. 
The composition is excellent and tells the story 
admirably. The general effect of color in the 


picture is quiet, but very agreeable and effective. 


Everything is painted in a direct, frank manner, 
and with full understanding of the exigencies of 
the subject. A fine specimen of the best school 
of modern French genre. 


Height, 18 inches. Length, 21} inches. 


Signed at the right. 


54 


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MONCHABLON (F. JAN). 


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No. 51. Pasturage au Soleil. L/e lid 


Marvellously brilliant effects of sunlight. In 
the meadow in the foreground are a man and 
woman and some cows which are perfectly 
painted, and in the middle distance are some 
houses nestled among the trees. On a hill to the 
left is a town with roofs and spires, and distant 
hills beyond are crowned with trees. This pic- 
ture is simply wonderful in its veracious transcrip- 
tion of nature and its dazzling rendering of the 
full light of the sun. .It is nature itself, and 
marks its painter as an artist of the highest rank 
in the depiction of landscape. 


Height, 18} inches. Length, 26 inches. . 


Signed at the left. 


55 


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. ven (JOZEF). 


Born at Gréningen in 1824, and was a pupil in 
Amsterdam of Cornelis Kruseman. Afterward 
studied in Paris with Picot. Resides at The Hague. 
Officer of the Legion of Honor and Knight of the 
Order of Leopold. Formerly painted historical 
subjects, but has achieved his wide reputation as a 
painter of Dutch genre. 


No. 52. Dutch Interior. 


This is one of the best examples of the work 
of Holland’s famous painter of figures indoors 
and domestic scenes, and belongs to his very best 
period. It shows none of the ropy handling 
noticeable in his latest work and none of the mud- 
diness of color. Rarely is a picture by Israels 
seen in this country now—unless it be in some 
fine private collection—that shows as well as this 
the meritorious character of his art, both in sen- 
timent and in color quality. At one side of a 
table, before a wide window, with muslin cur- 
tains, looking out upon a garden and trees, an 
old woman is seated with her knitting in her lap. 
She has stopped her work to look at the house cat 
lapping milk in an earthen bowl placed on the 
floor. On the table isa tray with dishes, tea-pot, 
and other articles. The general tone of the pic- 
ture is warm and glowing, but with no trace of 
‘“*foxiness”’; the grays, yellows, pale greens, 
blacks and dark blues, are full and resonant. 

56 


There are quality, strength, and virility in the 
painting, and the composition is simple and effec- 
tive. 


: Height, 2oinches. Length, 28 inches. 
Signed at the left. 


DUPRE (JULIEN). 


No. 53. The Haymakers’ Lunch. 


Three figures ina charming Normandy land- 
scape. One peasant girl in blue with dark red 
’*kerchief on her head is standing up while she 
cuts a huge loaf of pain de ménage ; another girl 
with a black bodice, white underwaist, and white 
skirt with large buff apron, is sitting on the 
bunches of hay piled up at the right of the pic- 
ture. An old man ina blue blouse reclines be- 
hind them with his pipe in his mouth. The girl 
in white and black pours out cider from a bottle, 
and there is a big basket beside her that contains 
the rest of the lunch. It is a bright summer day 
and clouds of white float in the sky, casting 
shadows on the fields. The sky is fine in color, 
and the tone of the hay-field with its stacks is 
tender and truthful. An important example of 
the work of a deservedly popular artist. 


Height, 26inches. Length, 32 inches. 
Signed at the left. Dated 1886. 


57 


LAUGEE (GEORGES). 


No. 54. Visit to the Fields. 


Rich sunset effect. On the outskirts of a 
French village, where a man is digging up pota- 
toes in a field, his wife has come with her baby 
on her arm and her basket to see how the work 
comes on. The town with its cottage roofs and 
church spire among the trees comes out in dark 
relief against the glowing sky of red and orange. 
The entire picture is illumined by the warm glow 
of the setting sun, and the gray clouds in the 
upper part of the sky form an effective contrast 
to the brilliant tints at the horizon. 


Height, 26 inches. Length, 32 inches. 


Signed at the right. Dated 1887. 


58 


MULLER (CHARLES-LOUIS). 


Born in Paris, December 22, 1815; died there 
within the last decade. Pupil of Baron Gros and 
Léon Cogniet and of the Ecole des Beaux-Arts. 
He was a Member of the Institute and Officer of the 
Legion of Honor; artistic director of the manu- 
facture of the Gobelin tapestries from 1850 to 
1853. His ‘‘ Charlotte Corday, in Prison,” is in the 
Corcoran Gallery, Washington. 


No. 55. The May Queen. 


This charming picture is by the painter of the 
celebrated ‘‘ Roll-Call of Last Victims of the 
Reign of Terror,” which was long one of the 
great attractions of the Luxembourg Museum in 
Paris, and belongs to the French Government. 
The ‘‘ May Queen” is a pretty girl painted life- 
size in three-quarter length, costumed in a V- 
shaped corsage of pale blue and a white skirt with 
a tulle scarf around her neck, blue ribbons on her 
sleeves, and white mitts on her hands. She is 
delightful in her simplicity and grace, and her 
dark hair falls in ringlets on her forehead and 
behind her ears. With a charmingly suggested 
movement she holds out lightly the skirt of her 
gown with the finger tips of both hands, and on 
either side of her are green leaves and spring 
foliage. The head is suavely modelled and is 
limpid in color, and the general effect of the 
whole figure is engaging in its innocent and bud- 
ding youthfulness. 

Height, 44 inches. Width, 31 inches. 
Signed at the left. 
59 


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‘ WAGNER (FERDINAND). 


No. 56. The Shrine by the Wayside. 


A well-known composition which has been 
engraved, and has long been a popular picture. 
A young and pretty girl in a Marguerite costume 
kneels before a shrine on a massive pillar of 
stone entwined with vines and foliage. Her head 
is seen in profile, and is comely in its simple 
grace. She holds a long garland of field flowers, 
all very carefully painted, and the upper part of 
the figure is relieved against a sunset sky. A 
field of ripe wheat occupies the middle of the 
picture, and a tree grows up by the side of the 
shrine. A notable example of effective figure- 
painting in a composition with a single figure, 
and remarkable for its rich color effect. 


Height, 44 inches. Width, 294 inches. 


Signed at the left. 


60 


Beathsnsod «. aly 


No. 57. Les Palieere: 


A wide meadow, with a tranquil stream flow- 
ing through it between deep banks, cattle and 
sheep grazing, two peasant girls in gray woollens 
in the foreground tending the flocks, and some. 
boys making a fire of sticks in another part of the 
meadow, are the principal features of this splen- 
did picture, which was exhibited at the Salon of 
1888, and attracted great attention. It is late 
afternoon on a September day, and the whole 
picture is in shadow—very luminous atmospheric 
shadow—except where some distant hills catch the 
dying rays of the sun. The sky is pale and full 
of light, with a few pinkish lilac clouds at the 
horizon and a little white fleck floating on high. 
The picture is full of detail, as all of Monchab- 
lon’s works are, and everything is rendered with 
unerring fidelity. Frankly and broadly painted, 
delicate but virile in color, luminous and atmos- 
pheric, with its sky of exquisitely gradated 
values, this important work must be rated among 
the most remarkable of modern landscapes. 


Height, 36 inches. Length, 50 inches. | 
Signed at the right. Dated 1887. 


AMERICAN ART ASSOCIATION,  » /} [@ /' 
MANAGERS, * ~ 


Tuomas E. KIRBY, 
Auctioneer, 
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